fmian

fmian

Lives in Australia Sydney, Australia
Works as a Photographer/Re-toucher/Consultant
Joined on Mar 28, 2010
About me:

If you're reading this it's probably because I wrote something that confounded or intrigued you. You should know that much of what I say is uncomfortable truth laced with straight faced sarcasm. Don't take it to heart.

Comments

Total: 847, showing: 1 – 20
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On article Top tips for composing great landscapes (125 comments in total)
In reply to:

ProfHankD: To me, your white signature on dark background is the dominant (or at least a major) visual component of nearly every one of these images -- it seriously degrades the compositions. If you insist on marking each image, I'd strongly suggest making it a more subtle watermark, using tones more consistent with those of the area upon which you impose it.

Look, you didn't originally ask about Bob Ross. I answered the question you asked in a sensible manner. I'm sure we can keep going back and forth with this as you keep changing your questions to suit your desired answer.

Valid points were raised on either side of the discussion and that has already been said more than once here. So I don't see why you have to get emotional and confused enough to imply that I've been yelling or something. If I had said something way out of line as your reaction suggests, I would have been deleted or whatever it is the mods do in that situation.

It's obviously a polarising topic that should have its own article, and if you can't talk about it by adding something that continues the discussion calmly then maybe you should take a break and go for a walk or something.

Link | Posted on Jul 28, 2016 at 17:25 UTC
On article Top tips for composing great landscapes (125 comments in total)
In reply to:

ProfHankD: To me, your white signature on dark background is the dominant (or at least a major) visual component of nearly every one of these images -- it seriously degrades the compositions. If you insist on marking each image, I'd strongly suggest making it a more subtle watermark, using tones more consistent with those of the area upon which you impose it.

Monet considered the colours of his signatures carefully so it matched the rest of the painting.

Van Gogh for the most part applied his signature to flow within the lines and shapes of his paintings. Although there are some where he blatantly did the opposite. If he wasn't famous I'm sure many would consider those ones ruined.

Ie. They usually took great consideration of composition when applying their signatures, hence why each signature is unique.

Link | Posted on Jul 28, 2016 at 15:47 UTC
In reply to:

Studio1138: Sure wish they had put in IS.

Well wow, that's a whole bunch of stuff I didn't consider. Even though I shoot in a range of conditions and environments it's never presented an issue for me to want a fast (er) lens with stabilization.

I guess my brain doesn't even go there because I'm mostly using manual focus systems on older 135 and 120 formats. So it kind of is what it is and I don't have another option.. so I try to find other workarounds.

I get what you're saying though, would make life easier in specific moments.
I found myself once using a 100mm f/4 macro with Ilford 125 ASA at minimum focus distance to fill this guys face into the frame and just get his eyeballs in focus (some funky body painted model with bizzare contact lenses). Impromptu available window light shot, no tripod cause a table was in the way, 1/30s at the apex of my breath. Only one shot. Lol. The photo came out great but I have to say I flirted with chance and got lucky.

If I had to do that repeatedly and reliably, I'd want IS as well..

Link | Posted on Jul 28, 2016 at 06:50 UTC
In reply to:

Studio1138: Sure wish they had put in IS.

'and lose over a stop of light'
Compared to what? This new lens, or if it theoretically had VR built in?

The 105mm VR Macro has a claimed 4-stops of stability compensation.

Assuming the subject can hold still, we can compare:

~1/100s @ f/1.4 (for this new lens)
to
~1/15s @ f/2.8 (for the 105 VR macro)

and we have a ~2-stop advantage for the 105mm VR macro compared to this new lens. Plus you have a closer minimum focus distance.

Of course.. there are other things to consider when taking a shot and sometimes you will want one over the other, but it's worth considering what situations the VR will let you decrease shutter speed in (rather than stopping the aperture down).

Personally I would sacrifice aperture for stabilization in a lens. Not a problem if people feel otherwise.

Link | Posted on Jul 27, 2016 at 23:29 UTC
In reply to:

Nobby2016: well i love my 85mm f1.2... thought just shooting at f1.2-f2.0 all the time is a bit boring.

don´t get me wrong i love the look, it is just that there are more possibilitys for portraits then shooting at f1.2.

many portrait photographer forget that.
some portfolios only show 85mm and wide open.

that said i would buy a mark III version of the 85mm f1.2 instantly. :)

@Nobby2016, I enjoy taking portraits with my 8mm f/4 circular fisheye, easy to get everything in focus so you don't have to worry about DOF when your subject is running away from you. But I do wish I could afford the 7.5mm.. Less CA on the edges where it's important to capture the models flailing limbs.. One day.. :)

Link | Posted on Jul 27, 2016 at 15:53 UTC
In reply to:

Reilly Diefenbach: Coming soon to a forum near you, a flood of even fuzzier nose and ears shots than previously available!

You say it like users will be locked in to f/1.4, or won't be able to get their subjects to move further back..
You should check out a DOF calculator to see how this works...

Link | Posted on Jul 27, 2016 at 15:37 UTC
In reply to:

Studio1138: Sure wish they had put in IS.

Just buy the 105 VR macro, then you can add perfect handheld close up eyeball portraiture to your repertoire..

Link | Posted on Jul 27, 2016 at 15:32 UTC
In reply to:

Matsu: I haven't checked whether there's any information or comment on this yet, but perhaps Nikon doesn't need to make a modern 135 f/2 replacement, just a teleconvertor that works with this lens.

A 1.4x TC would yield a 147mm f/2

A 1.25x TC would yield a 131mm f/1.75, call it f/1.8

Nikon makes these, but there's no indication whether either would work, and of course they only sell the 1.25x paired with the 800 f/5.6

I thought Olympus was the only camera manufacturer who made products that protrude and get inserted...

Link | Posted on Jul 27, 2016 at 15:28 UTC
On article Top tips for composing great landscapes (125 comments in total)
In reply to:

ProfHankD: To me, your white signature on dark background is the dominant (or at least a major) visual component of nearly every one of these images -- it seriously degrades the compositions. If you insist on marking each image, I'd strongly suggest making it a more subtle watermark, using tones more consistent with those of the area upon which you impose it.

'No, fmian, it simply shows just how many people...'

I think your massively assumptive rant tells us a lot more about your views on the world than it does about anything else.

It's insightful in regards to the nature of human thought and social interaction though. So thank you.

Link | Posted on Jul 26, 2016 at 03:59 UTC
On article Top tips for composing great landscapes (125 comments in total)
In reply to:

ProfHankD: To me, your white signature on dark background is the dominant (or at least a major) visual component of nearly every one of these images -- it seriously degrades the compositions. If you insist on marking each image, I'd strongly suggest making it a more subtle watermark, using tones more consistent with those of the area upon which you impose it.

@TheDman
I think the amount of people agreeing with the comment ProfHankD made would see you on the side of unpopular opinion.

Link | Posted on Jul 25, 2016 at 23:19 UTC
On article Top tips for composing great landscapes (125 comments in total)
In reply to:

ProfHankD: To me, your white signature on dark background is the dominant (or at least a major) visual component of nearly every one of these images -- it seriously degrades the compositions. If you insist on marking each image, I'd strongly suggest making it a more subtle watermark, using tones more consistent with those of the area upon which you impose it.

ProfHankD makes a great point. Anyone who wants to copy and use these images would just apply the clone/heal tool and be on their way within 5 seconds.

Link | Posted on Jul 25, 2016 at 03:47 UTC
On article Top tips for composing great landscapes (125 comments in total)
In reply to:

ProfHankD: To me, your white signature on dark background is the dominant (or at least a major) visual component of nearly every one of these images -- it seriously degrades the compositions. If you insist on marking each image, I'd strongly suggest making it a more subtle watermark, using tones more consistent with those of the area upon which you impose it.

A case of 'the artist being more important than the art' I think..

Link | Posted on Jul 24, 2016 at 02:30 UTC
On article Top tips for composing great landscapes (125 comments in total)
In reply to:

Boss of Sony: Personally I prefer my snapshots of Japan taken over a three week period with the Panasonic LX100: http://japantraveldiary.tumblr.com

Why?

Link | Posted on Jul 24, 2016 at 02:25 UTC
In reply to:

JawaT: How about having it triggered by an audio message/phrase? May involve some training for voice recognition, but this should be a one time effort.

Like 'elephant shoe'?

Link | Posted on Jul 23, 2016 at 03:05 UTC

1st impression: She's totally cute.
2nd impression: That's.. really.. creepy..

Link | Posted on Jul 22, 2016 at 22:02 UTC as 64th comment
On article Getting up close: Canon EF-M 28mm macro hands-on review (103 comments in total)
In reply to:

PKDanny: Don't forgot about Pentax Macro lenses!!??

@Nobby2016 'now someone only has to buy pentax cameras and lenses'

I'm pretty sure Ricoh bought a whole bunch of them some time ago. And Hoya prior to that. Apart from that, not many else.

Link | Posted on Jul 22, 2016 at 01:30 UTC
In reply to:

Aaron801: Naive question, but besides manual focus (which other lenses have to) and I assume click-less aperture, what exactly makes a "cine lens" and why so expensive? I'm sure that it's a very fine lens but this company is known for fast, cheap lenses so what makes this one so much more valuable?

The series of lenses are usually also all designed to exhibit the same level of contrast, colour rendering, and overall look of the captured image. The outer body is usually also designed with all lenses in the series being similar size & weight so that changing lenses requires minimal readjustment of the rig.
$2500 per lens is EXTREMELY good value for money considering each lens has been designed with all this in mind. It's a much bigger undertaking to develop a series of matching lenses than it is to make one individual design.

Link | Posted on Jul 19, 2016 at 01:54 UTC
In reply to:

Alphoid: Welps, not something I'd ever buy. $2500 and no autofocus. Not criticizing, but not all too useful for still work.

I dig the interchangeable mount. I was very excited when Sigma introduced that, and then sad when it went to less than a handful of lenses, and then nowhere. Although now that I'm seeing no A-mount.... Or Pentax....

Even if you were to judge a cinema lens from a photography point of view, the statement 'not all too useful for still work' doesn't stand.
If the mount fits and the format suits, it's not too difficult to make such lenses work for stills photography. Because.. you know.. they've been using using big heavy lenses with no automated controls for most of the history of stills photography.

Link | Posted on Jul 19, 2016 at 01:37 UTC
In reply to:

Alphoid: Welps, not something I'd ever buy. $2500 and no autofocus. Not criticizing, but not all too useful for still work.

I dig the interchangeable mount. I was very excited when Sigma introduced that, and then sad when it went to less than a handful of lenses, and then nowhere. Although now that I'm seeing no A-mount.... Or Pentax....

Also.. no one ever took photos before autofocus was invented... right?

Link | Posted on Jul 19, 2016 at 00:43 UTC
On article Behind the shot: Praia da Adraga at blue hour (90 comments in total)
In reply to:

fmian: Good thorough description of your thought process. I feel your post processing technique has more substance than the resulting image however.

Yes true @darngooddesign, using Snapseed the way I do is an advanced skill. I had to make a lot of mistakes and waste a lot of time first. So maybe you can add it to your lesson plan later on.

Link | Posted on Jul 17, 2016 at 15:51 UTC
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